Monday, 20 October 2008
Animation Presentation Tips
Answer these three subheading when writing your presentation
How the animation is made?
What methods are used to make the animation?
Technologies
Technologies
What tools are used to make the animation?
Procedures
How is it viewed or used?
How is a Zoetrope view?
What is Cel Animation used for ?
Thursday, 16 October 2008
DEADLINES Dates
Assignment 2.1 Submission Deadline - History of Animation Presentation
Monday, November 03, 2008
Assignment 2.2 Submission Deadline - Ideas for an Animated Sequence
Friday, November 07, 2008
Monday, 13 October 2008
Friday, 10 October 2008
Using Behaviors
You can use behaviors to animate objects using simple graphical controls. With behaviors, you can easily create basic motion effects or complex simulated interactions between multiple objects.
Basic Motion behaviors are among the simplest behaviors. They animate specific parameters of the object to which they are applied. Some affect position while others affect scale or rotation. Examples include Fade In/Fade Out, Spin, and Throw. All of the Basic Motion behaviors can be applied to images and clips, particle emitters, shapes, text, and so on. Most of the Basic Motion behaviors can be applied to cameras and lights.
Behaviors Versus Keyframes
It’s important to understand that behaviors do not add keyframes to the objects or parameters to which they’re applied. Instead, behaviors automatically generate a range of values that are then applied to an object’s parameters, animating it over the duration of that behavior. Changing the parameters of a behavior alters the range of values that behavior generates.
Browsing for Behaviors
All available behaviors appear in the Library tab. Selecting the Behaviors category in
the category pane of the sidebar reveals the behavior subcategories (text behaviors
have two categories). Selecting a subcategory reveals all behaviors of that type in the
Library stack.
When you select a behavior in the Library stack, a short description and preview of the behavior appear in the Preview area.
Applying and Removing Behaviors Behaviors are applied directly to objects in one of the following ways: Dragging a behavior directly to an object in the Canvas, Layers tab, or Timeline. To apply a behavior to an object in the Timeline, drag the behavior to the object in the Timeline layers list or the Timeline track area. Note: It is usually easier to drag a behavior to a camera or light in the Layers tab or Timeline than directly to the object in the Canvas. Selecting an object, selecting a behavior in the Library, and then clicking the Apply button in the Preview area of the Inspector.
Selecting an object, and then selecting a behavior from the Add Behavior button in the Toolbar.
Control-clicking a parameter of an object (including the parameters of other behaviors), and choosing a Parameter behavior from the shortcut menu. Behaviors are removed by selecting the behavior in the Canvas, Layers tab, Timeline, or Inspector and pressing Delete.
Where Behaviors Appear When you apply a behavior to an object, it appears nested underneath that object in the Layers tab and the Timeline.
Behaviour controls appare in the inspeactor , or limited contoles in the HUD
Basic Motion behaviors are among the simplest behaviors. They animate specific parameters of the object to which they are applied. Some affect position while others affect scale or rotation. Examples include Fade In/Fade Out, Spin, and Throw. All of the Basic Motion behaviors can be applied to images and clips, particle emitters, shapes, text, and so on. Most of the Basic Motion behaviors can be applied to cameras and lights.
Behaviors Versus Keyframes
It’s important to understand that behaviors do not add keyframes to the objects or parameters to which they’re applied. Instead, behaviors automatically generate a range of values that are then applied to an object’s parameters, animating it over the duration of that behavior. Changing the parameters of a behavior alters the range of values that behavior generates.
Browsing for Behaviors
All available behaviors appear in the Library tab. Selecting the Behaviors category in
the category pane of the sidebar reveals the behavior subcategories (text behaviors
have two categories). Selecting a subcategory reveals all behaviors of that type in the
Library stack.
When you select a behavior in the Library stack, a short description and preview of the behavior appear in the Preview area.
Applying and Removing Behaviors Behaviors are applied directly to objects in one of the following ways: Dragging a behavior directly to an object in the Canvas, Layers tab, or Timeline. To apply a behavior to an object in the Timeline, drag the behavior to the object in the Timeline layers list or the Timeline track area. Note: It is usually easier to drag a behavior to a camera or light in the Layers tab or Timeline than directly to the object in the Canvas. Selecting an object, selecting a behavior in the Library, and then clicking the Apply button in the Preview area of the Inspector.
Selecting an object, and then selecting a behavior from the Add Behavior button in the Toolbar.
Control-clicking a parameter of an object (including the parameters of other behaviors), and choosing a Parameter behavior from the shortcut menu. Behaviors are removed by selecting the behavior in the Canvas, Layers tab, Timeline, or Inspector and pressing Delete.
Where Behaviors Appear When you apply a behavior to an object, it appears nested underneath that object in the Layers tab and the Timeline.
Behaviour controls appare in the inspeactor , or limited contoles in the HUD
Motion Basic's
To save a project:
1 Choose File> Save (or press Apple-S).
If the project has not already been saved, the Save As dialog appears.
2 Type a name into the Save As field, choose a location on your hard drive to save the
file, then click Save.
Note: If the project has already been saved, the project file is simply updated.
Collect Media
When saving a project, Motion gives you the option to automatically gather together
the media used in your project. The media is collected in a folder of your designation.
The advantage to collecting your media is that it makes portability and backup easier,
as well as organizing all your project media in a single place. By default, Collect Media
is turned off.
To use the Collect Media save function:
1 Choose File > Save As (or press Apple-Shift-S).The Save As dialog appears.
2 Choose Copy to Folder from the Collect Media pop-up menu.
Choosing the Copy to Folder option creates a folder with the name specified in the
Save As field. A Motion project file of the same name is created within that folder, as
well as a folder named “Media,” which contains all the media used in the project.
If the Collect Media option is used, you have the option to specify whether unused
media are collected as well.
Navigation Controls in the File Browser
The six main 2D transform tools are:
Select/Transform: Scales and rotates selected objects.
Adjust Anchor Point: Offsets the anchor point used for all object transforms.
Adjust Shear: Tilts objects, either horizontally or vertically.
Adjust Drop Shadow: Manipulates object drop shadows directly in the Canvas.
Adjust Four Corner: Stretches an object into different polygonal shapes.
Adjust Crop: Cuts off pixels from any of the object’s four edges.
Moving Objects in the Canvas
The simplest thing you can do to start arranging the objects in your project is to move
them around.
To move one or more objects in the Canvas:
1 Select one or more objects.
2 Do one of the following:
 Drag an object to another location. If more than one object is selected, dragging one
of the currently selected objects moves all of them.
 Press Command, then press the Right Arrow, Left Arrow, Up Arrow, or Down Arrow
key to reposition the selected objects one pixel at a time.
 Press Command-Shift, then press the Right Arrow key or the Left Arrow key to
reposition the selection ten pixels at a time
Transform Tools
The transform controls do double duty, allowing you to both resize (scale) and rotate
an object within a single mode.
Drag one of the corner handles to resize the object’s width and height at the same
time. By default, you can resize the width and height independently, by any amount.
Press Shift, then drag any of the corner handles to resize the object while locking its
width and height together, maintaining the object’s current aspect ratio.
Drag the top or bottom scale handle to limit scale changes to the object’s height, or
drag the left or right scale handle to limit scale changes to the object’s width.
Editing Opacity and Blending
The opacity and blending controls for each object appear both in the Properties tab of
the Inspector, and in the default HUD for any selected object.
Opacity
By layering together objects with varying opacities, you can merge them together in
ways not otherwise possible. For example, if you have two full-screen background
images that you want to use together, you can set the opacity of the object in front to
50%, allowing the object in back to show through.
The Timeline shows all of the objects in your project and provides a “big picture” look
at how your project is arranged over time. You can organize your objects to begin and
end on the frames you choose. You can also align multiple effects so that they occur
simultaneously. You can control objects’ durations and even perform common trim
operations to edit the objects as you would in a video editing program.
Additional controls let you manipulate masks, filters, behaviors, keyframes, and audio
elements along with your visual footage. The Timeline ruler provides an exact reference
for managing timing and synchronizing effects. You can lock tracks to prevent changes,
temporarily hide an object from view, and manage links between audio and video.
The Timeline is not displayed by default in the Standard layout. It can be viewed by
displaying the Timing pane.
To display the Timing pane, do one of the following:
Click the Timing icon (in the upper-right corner of the Toolbar).
Getting Familiar with the Timeline
The Timeline consists of the Timeline layers list on the left and a track area on the right.
Each object in your project appears as a colored bar, on its own horizontal track,
arranged in a hierarchy identical to the Layers list in the Project pane. This allows you to
quickly see each object’s place in time, as well as its relative position and duration.
Zooming in the Timeline
You can zoom in and out in the Timeline using either the Zoom/Scroll control or the
zoom slider. Each lets you zoom in and out of the Timeline horizontally, showing more
or less time in the Timeline window. As you zoom in, you can see greater detail, which
lets you place objects with greater precision. As you move the zoom slider, the Timeline
remains centered on your current frame.
Timeline Layers List
The Timeline layers list mirrors the Layers tab in the Project pane and displays your
project objects (groups, layers, filters, behaviors, and so on) and their stacking order.
Behaviors, filters, masks, and keyframes applied to an object can also be displayed. In
the Timeline layers list, you can reorder objects. This change is immediately reflected in
the Layers list in the Project pane. You can also lock tracks to prevent further editing on
those tracks and disable entire tracks to omit them from view in the Canvas.
Enabling Timeline Tracks
To the left of each track in the Timeline layers list is an activation checkbox that turns
that track on and off. When a track is turned off (disabled), it is ignored in the Canvas.
Not only can you turn video or audio on and off, but you can also disable or enable
effects such as masks, filters, and behaviors.
To turn visibility for an object on or off:
m Click the checkbox at the left edge of the track you want to control.
When the box is checked, visibility is on, and when the box is unchecked, visibility is
off. Additionally, when a track is disabled, the entire track is dimmed in the Timeline.
Managing the Timeline Layers List
Motion allows you to collapse and expand different parts of the Timeline layers list to
show more or less data to accommodate different working styles. Layers with applied
masks, filters, and other objects can be collapsed to hide those effects bars.
Furthermore, whole groups can be collapsed to hide all of the objects contained within
them.
To collapse or expand a layer or group in the Timeline:
Click the disclosure triangle to the left of the layer or group name. If no disclosure
triangle is present, that object cannot be collapsed or expanded any further.
Moving Objects
Move an object when you want it to begin and end at a different point in the project.
To move an object:
In the track area, click an object bar and drag left or right to move it in time.
A tooltip appears that identifies the new In and Out points of the clip, so you can drag
the clip to the frame you want. The Delta symbol (the small triangle) indicates the
number of frames you are moving.
Trimming Objects
Trim an object when you want to shorten or lengthen its duration in the Timeline. You
can shorten or lengthen either the beginning or end of the object by dragging from
the left or right edge of the object bar in the Timeline (the In and Out points).
To trim a clip:
1Move the pointer to one end of the clip you want to trim.
The pointer changes to a trim pointer.
To display keyframes in the Timeline:
At the bottom of the Timeline layers list, click the Show/Hide Keyframes button.
1 Choose File> Save (or press Apple-S).
If the project has not already been saved, the Save As dialog appears.
2 Type a name into the Save As field, choose a location on your hard drive to save the
file, then click Save.
Note: If the project has already been saved, the project file is simply updated.
Collect Media
When saving a project, Motion gives you the option to automatically gather together
the media used in your project. The media is collected in a folder of your designation.
The advantage to collecting your media is that it makes portability and backup easier,
as well as organizing all your project media in a single place. By default, Collect Media
is turned off.
To use the Collect Media save function:
1 Choose File > Save As (or press Apple-Shift-S).The Save As dialog appears.
2 Choose Copy to Folder from the Collect Media pop-up menu.
Choosing the Copy to Folder option creates a folder with the name specified in the
Save As field. A Motion project file of the same name is created within that folder, as
well as a folder named “Media,” which contains all the media used in the project.
If the Collect Media option is used, you have the option to specify whether unused
media are collected as well.
Navigation Controls in the File Browser
The six main 2D transform tools are:
Select/Transform: Scales and rotates selected objects.
Adjust Anchor Point: Offsets the anchor point used for all object transforms.
Adjust Shear: Tilts objects, either horizontally or vertically.
Adjust Drop Shadow: Manipulates object drop shadows directly in the Canvas.
Adjust Four Corner: Stretches an object into different polygonal shapes.
Adjust Crop: Cuts off pixels from any of the object’s four edges.
Moving Objects in the Canvas
The simplest thing you can do to start arranging the objects in your project is to move
them around.
To move one or more objects in the Canvas:
1 Select one or more objects.
2 Do one of the following:
 Drag an object to another location. If more than one object is selected, dragging one
of the currently selected objects moves all of them.
 Press Command, then press the Right Arrow, Left Arrow, Up Arrow, or Down Arrow
key to reposition the selected objects one pixel at a time.
 Press Command-Shift, then press the Right Arrow key or the Left Arrow key to
reposition the selection ten pixels at a time
Transform Tools
The transform controls do double duty, allowing you to both resize (scale) and rotate
an object within a single mode.
Drag one of the corner handles to resize the object’s width and height at the same
time. By default, you can resize the width and height independently, by any amount.
Press Shift, then drag any of the corner handles to resize the object while locking its
width and height together, maintaining the object’s current aspect ratio.
Drag the top or bottom scale handle to limit scale changes to the object’s height, or
drag the left or right scale handle to limit scale changes to the object’s width.
Editing Opacity and Blending
The opacity and blending controls for each object appear both in the Properties tab of
the Inspector, and in the default HUD for any selected object.
Opacity
By layering together objects with varying opacities, you can merge them together in
ways not otherwise possible. For example, if you have two full-screen background
images that you want to use together, you can set the opacity of the object in front to
50%, allowing the object in back to show through.
The Timeline shows all of the objects in your project and provides a “big picture” look
at how your project is arranged over time. You can organize your objects to begin and
end on the frames you choose. You can also align multiple effects so that they occur
simultaneously. You can control objects’ durations and even perform common trim
operations to edit the objects as you would in a video editing program.
Additional controls let you manipulate masks, filters, behaviors, keyframes, and audio
elements along with your visual footage. The Timeline ruler provides an exact reference
for managing timing and synchronizing effects. You can lock tracks to prevent changes,
temporarily hide an object from view, and manage links between audio and video.
The Timeline is not displayed by default in the Standard layout. It can be viewed by
displaying the Timing pane.
To display the Timing pane, do one of the following:
Click the Timing icon (in the upper-right corner of the Toolbar).
Getting Familiar with the Timeline
The Timeline consists of the Timeline layers list on the left and a track area on the right.
Each object in your project appears as a colored bar, on its own horizontal track,
arranged in a hierarchy identical to the Layers list in the Project pane. This allows you to
quickly see each object’s place in time, as well as its relative position and duration.
Zooming in the Timeline
You can zoom in and out in the Timeline using either the Zoom/Scroll control or the
zoom slider. Each lets you zoom in and out of the Timeline horizontally, showing more
or less time in the Timeline window. As you zoom in, you can see greater detail, which
lets you place objects with greater precision. As you move the zoom slider, the Timeline
remains centered on your current frame.
Timeline Layers List
The Timeline layers list mirrors the Layers tab in the Project pane and displays your
project objects (groups, layers, filters, behaviors, and so on) and their stacking order.
Behaviors, filters, masks, and keyframes applied to an object can also be displayed. In
the Timeline layers list, you can reorder objects. This change is immediately reflected in
the Layers list in the Project pane. You can also lock tracks to prevent further editing on
those tracks and disable entire tracks to omit them from view in the Canvas.
Enabling Timeline Tracks
To the left of each track in the Timeline layers list is an activation checkbox that turns
that track on and off. When a track is turned off (disabled), it is ignored in the Canvas.
Not only can you turn video or audio on and off, but you can also disable or enable
effects such as masks, filters, and behaviors.
To turn visibility for an object on or off:
m Click the checkbox at the left edge of the track you want to control.
When the box is checked, visibility is on, and when the box is unchecked, visibility is
off. Additionally, when a track is disabled, the entire track is dimmed in the Timeline.
Managing the Timeline Layers List
Motion allows you to collapse and expand different parts of the Timeline layers list to
show more or less data to accommodate different working styles. Layers with applied
masks, filters, and other objects can be collapsed to hide those effects bars.
Furthermore, whole groups can be collapsed to hide all of the objects contained within
them.
To collapse or expand a layer or group in the Timeline:
Click the disclosure triangle to the left of the layer or group name. If no disclosure
triangle is present, that object cannot be collapsed or expanded any further.
Moving Objects
Move an object when you want it to begin and end at a different point in the project.
To move an object:
In the track area, click an object bar and drag left or right to move it in time.
A tooltip appears that identifies the new In and Out points of the clip, so you can drag
the clip to the frame you want. The Delta symbol (the small triangle) indicates the
number of frames you are moving.
Trimming Objects
Trim an object when you want to shorten or lengthen its duration in the Timeline. You
can shorten or lengthen either the beginning or end of the object by dragging from
the left or right edge of the object bar in the Timeline (the In and Out points).
To trim a clip:
1Move the pointer to one end of the clip you want to trim.
The pointer changes to a trim pointer.
To display keyframes in the Timeline:
At the bottom of the Timeline layers list, click the Show/Hide Keyframes button.
Starting Animtion In Motion - Overview
When You First open Motion It will Ask you what Preset you want to open. We will be using PAL DV Press ok, Motion will load it's default work surface
To the Top right of the main window you will see these buttons, these buttons will open the different windows
Library.
The Library lets you quickly and easily search for one of more than 700 filters, effects, particles, and design elements included in Motion 3. You can also use the Library to save your own sets of favorites. Preview effects and animation presets as you search.
Timeline. The Timeline supports multitrack audio and video editing, including Insert, Overwrite, and Replace edits. Use the Timeline to trim movies, filters, and behaviors or to adjust the speed of video and audio clips.
Heads-up displays. A heads-up display (HUD) is a semitransparent floating palette that offers dynamic control over the most common parameters for a given object. Manipulate shapes or use sliders; the HUD displays just the controls you need, making it simple and even fun to manipulate animation behaviors. Choose the 2D view for creating two-dimensional animations; a single click reveals dynamic 3D controls for working in three dimensions.
Layers. Press the Project Button in the top right, this will pop out the Layers window, Layers let you use unlimited layering to combine video, text, and graphics. You can composite using standard blend modes.
You can group objects and layers for parenting-like control;
You can also use any graphic or particle system as an image mask within these layers.
Are the points in which Aniamtion happens.
To the Top right of the main window you will see these buttons, these buttons will open the different windows
Library.
The Library lets you quickly and easily search for one of more than 700 filters, effects, particles, and design elements included in Motion 3. You can also use the Library to save your own sets of favorites. Preview effects and animation presets as you search.
Timeline. The Timeline supports multitrack audio and video editing, including Insert, Overwrite, and Replace edits. Use the Timeline to trim movies, filters, and behaviors or to adjust the speed of video and audio clips.
Heads-up displays. A heads-up display (HUD) is a semitransparent floating palette that offers dynamic control over the most common parameters for a given object. Manipulate shapes or use sliders; the HUD displays just the controls you need, making it simple and even fun to manipulate animation behaviors. Choose the 2D view for creating two-dimensional animations; a single click reveals dynamic 3D controls for working in three dimensions.
Layers. Press the Project Button in the top right, this will pop out the Layers window, Layers let you use unlimited layering to combine video, text, and graphics. You can composite using standard blend modes.
You can group objects and layers for parenting-like control;
movement all a the same time for example.
You can also use any graphic or particle system as an image mask within these layers.
Keyframes
Are the points in which Aniamtion happens.
When using keyframes, the Keyframe Editor (next to the timeline) it lets you draw animation curves. Squish, stretch, and reposition groups of keyframes using the flexible transform
box.
Behaviors
As well as supporting traditional keyframe animation, Motion introduced a system of pre-set 'behaviors' which can be combined to create realistic animations. For instance, the 'throw' behaviour will move an object across the screen. Combined with the 'gravity' behavior, it will simulate a realistic arc of motion. The effects can be tweaked utilizing various parameters, varying the strength of the bounces, the amount of gravity to apply and so on.
This is very different from traditional animation software, which requires the use of keyframes to determine the position of an object at any given time. The software then automatically creates motion to fill the spaces between the keyframes. This makes it easy to know exactly where objects are on the screen at any given time, but it is considerably more difficult to create realistic animations that build up on different, conflicting forces.
Monday, 6 October 2008
aniamtion research links
Idents
‘Identity’ or Ident
Before producing any media work, it is vital that ideas are properly planned and developed. Building on knowledge and techniques taught in lectures and seminars you will need to develop ideas for the production of an ‘Ident’ which will form part of blog show reel and your individual portfolio. You have the Choice of either:
Ident for Confetti TV
Ident for your own show reel (your own personal brand)
Or both
The animated ‘Ident’ sequence will be made with Motion.
When thinking about ideas, address the following points:
Does it have a theme?
What style of animation techniques will be use?
Will there be a story or a narrative?
Are there any characters in it?
Is there/what audio will be selected?
Having properly developed and planned your idea and animation storyboards, you now need to put these ideas into action using software. Using techniques and processes taught in the Animation Workshops you will need to produce an animated ‘Ident’ sequence that both demonstrates competent technical and aesthetic qualities, and achieves the intentions of your proposed idea.
Your completed Animation ’Ident’ will need to be presented to the group and tutors for evaluation purposes. You will also need to write a 500 word report detailing your part in the animation process and how the idea was developed and produced.
Dead lines
Pre Production presentation
Friday 7thNovember
Eveything that needs t be handed in....
•Individual Animation ‘Ident’ Sequence ideas.
•Developed Animation ‘Ident’ Sequence ideas.
•Storyboards + Artwork Etc….
•Data DVD of animation ‘Ident’
•Web upload of ‘Ident’
•500 word evaluation of ‘Ident’
What need to be handed in to EST
some really good examples here
http://idents.tv/blog/
Before producing any media work, it is vital that ideas are properly planned and developed. Building on knowledge and techniques taught in lectures and seminars you will need to develop ideas for the production of an ‘Ident’ which will form part of blog show reel and your individual portfolio. You have the Choice of either:
Ident for Confetti TV
Ident for your own show reel (your own personal brand)
Or both
The animated ‘Ident’ sequence will be made with Motion.
When thinking about ideas, address the following points:
Does it have a theme?
What style of animation techniques will be use?
Will there be a story or a narrative?
Are there any characters in it?
Is there/what audio will be selected?
Having properly developed and planned your idea and animation storyboards, you now need to put these ideas into action using software. Using techniques and processes taught in the Animation Workshops you will need to produce an animated ‘Ident’ sequence that both demonstrates competent technical and aesthetic qualities, and achieves the intentions of your proposed idea.
Your completed Animation ’Ident’ will need to be presented to the group and tutors for evaluation purposes. You will also need to write a 500 word report detailing your part in the animation process and how the idea was developed and produced.
Dead lines
Pre Production presentation
Friday 7thNovember
Eveything that needs t be handed in....
•Individual Animation ‘Ident’ Sequence ideas.
•Developed Animation ‘Ident’ Sequence ideas.
•Storyboards + Artwork Etc….
•Data DVD of animation ‘Ident’
•Web upload of ‘Ident’
•500 word evaluation of ‘Ident’
What need to be handed in to EST
some really good examples here
http://idents.tv/blog/
Research for Media Production
What do you need to know?
Historical and contemporary animation techniques and practice
What do you need to know?
Historical and contemporary animation techniques and practice
Research for Media Production
Learning Outcomes Covered In This Project Are
Understand research methods and techniques
Be able to identify and gather research material
Be able to collate and store research material
Be able to present results of research
Why do you need the information and at what level?
Do you have to write an essay?
Do you just need a quick answer?
Are you researching an in-depth project?
Some questions you need to ask yourself before starting research ...
How far back do you need to search?
Are you just looking for up to date information?
Or do you need ‘historical’ background material?
What do you know already?
Make some notes about what, if anything, you already know this will show you the gaps you need to fill and what type of information you need.
Where does information come from?
Information can come from virtually anywhere --personal experiences, books, articles, expert opinions, encyclopedias, the Internet --and the type of information you need will change depending on the question you are trying to answer.
Don’t just use one source
You can develop more convincing arguments by not relying too heavily on one source of information.
Choosing a variety of sources can be an excellent way to support your own ideas as well as providing different points of view on your topic.
Where do you start searching?
Sometimes the hardest part about research is just getting started.
You need to have a Search Strategy
Search Strategy
What is it and why
do I need one?
What is a search strategy?
Your search strategy is your plan of action
It helps you find the information you need to complete your assignments. It makes you think about your project.
It helps you work out what information you need, and how you're going to find it.
What do I do first?
Look at your essay or project title and make sure you understand it.
If you are unsure of any of the words, use a dictionary.
There is a “Dictionary” Programe in the applications folder.
Now identify your keywords
As an example, here is an essay title: Discuss the way multicultural issues are portrayed in the media
Analyse your topic and expand your ideas
Write down your topic
Write everything you can think of about your topic
Include what you already know as well as what you need to find out
Mind map –organise your idea
Organise your ideas by forming connections between them using a Mind map.
Decide on your main idea and use colour and graphics to expand it.
Take a large blank sheet of paper and some coloured pens.
Write your topic in the centre of your paper.
Branch out lines from the centre so that each line has a key idea on each line.
Five questions to ask
Who, what, where, why, how
are powerful questions to check your ideas
What type of information do you need?
an overview on the topic so you can identify key issues?
key quotes to back up your arguments?
a definition so you understand your main concept?
a review of recent debates?
the latest research?
Start searching
You understand your project title
You have identified your keywords
You’ve worked out what you already know and what you need to know
You know what types of information you need
You’re ready to start searching
Sources of Information
Books
Journals
Newspapers
Internet
Books
Library catalogue
PDF books
Online book
Book Shops
Refereed materials assure readers that the information conveyed is reliable and timely.
Magazines
Searching the Internet
Internet
bear in mind that anyone can post information on the Internet so the quality may not be reliable
the information you find may be intended for a general audience and so not be suitable for inclusion in your research (information for a general audience is usually less detailed)
Evaluating Internet resources
If you are using the Internet for your research, you will need to develop skills to evaluate the suitability of what you find.
A lot of information on the Internet is unreliable and of poor quality
Who has written it?
Is the information reliable?
Is there an author and is he/she an expert?
Where did their information come from?
Is the author linked to an organisation/ institution/ government body etc?
Can the author be contacted if necessary?
Who is it for and what is it about?
How much information is given?
Is the information factual or opinion?
How in depth is the information?
Can you tell who the information is aimed at?
Are there any links and are they useful and up-to-date?
When was it written?
How old is the information?
Can you tell when it was last updated?
Is it biased?
Is the site factual or is it just one person’s opinion?
Is it trying to persuade you about something or advertise?
Does it give you information to help you in your research or just give you one point of view?
How can you check the information?
Can you check who the author is?
Can you follow links to other resources which say the same thing?
Just because it looks good,
it doesn’t mean it’s right!
Historical and contemporary animation techniques and practice
What do you need to know?
Historical and contemporary animation techniques and practice
Research for Media Production
Learning Outcomes Covered In This Project Are
Understand research methods and techniques
Be able to identify and gather research material
Be able to collate and store research material
Be able to present results of research
Why do you need the information and at what level?
Do you have to write an essay?
Do you just need a quick answer?
Are you researching an in-depth project?
Some questions you need to ask yourself before starting research ...
How far back do you need to search?
Are you just looking for up to date information?
Or do you need ‘historical’ background material?
What do you know already?
Make some notes about what, if anything, you already know this will show you the gaps you need to fill and what type of information you need.
Where does information come from?
Information can come from virtually anywhere --personal experiences, books, articles, expert opinions, encyclopedias, the Internet --and the type of information you need will change depending on the question you are trying to answer.
Don’t just use one source
You can develop more convincing arguments by not relying too heavily on one source of information.
Choosing a variety of sources can be an excellent way to support your own ideas as well as providing different points of view on your topic.
Where do you start searching?
Sometimes the hardest part about research is just getting started.
You need to have a Search Strategy
Search Strategy
What is it and why
do I need one?
What is a search strategy?
Your search strategy is your plan of action
It helps you find the information you need to complete your assignments. It makes you think about your project.
It helps you work out what information you need, and how you're going to find it.
What do I do first?
Look at your essay or project title and make sure you understand it.
If you are unsure of any of the words, use a dictionary.
There is a “Dictionary” Programe in the applications folder.
Now identify your keywords
As an example, here is an essay title: Discuss the way multicultural issues are portrayed in the media
Analyse your topic and expand your ideas
Write down your topic
Write everything you can think of about your topic
Include what you already know as well as what you need to find out
Mind map –organise your idea
Organise your ideas by forming connections between them using a Mind map.
Decide on your main idea and use colour and graphics to expand it.
Take a large blank sheet of paper and some coloured pens.
Write your topic in the centre of your paper.
Branch out lines from the centre so that each line has a key idea on each line.
Five questions to ask
Who, what, where, why, how
are powerful questions to check your ideas
What type of information do you need?
an overview on the topic so you can identify key issues?
key quotes to back up your arguments?
a definition so you understand your main concept?
a review of recent debates?
the latest research?
Start searching
You understand your project title
You have identified your keywords
You’ve worked out what you already know and what you need to know
You know what types of information you need
You’re ready to start searching
Sources of Information
Books
Journals
Newspapers
Internet
Books
Library catalogue
PDF books
Online book
Book Shops
Refereed materials assure readers that the information conveyed is reliable and timely.
Magazines
Searching the Internet
Internet
bear in mind that anyone can post information on the Internet so the quality may not be reliable
the information you find may be intended for a general audience and so not be suitable for inclusion in your research (information for a general audience is usually less detailed)
Evaluating Internet resources
If you are using the Internet for your research, you will need to develop skills to evaluate the suitability of what you find.
A lot of information on the Internet is unreliable and of poor quality
Who has written it?
Is the information reliable?
Is there an author and is he/she an expert?
Where did their information come from?
Is the author linked to an organisation/ institution/ government body etc?
Can the author be contacted if necessary?
Who is it for and what is it about?
How much information is given?
Is the information factual or opinion?
How in depth is the information?
Can you tell who the information is aimed at?
Are there any links and are they useful and up-to-date?
When was it written?
How old is the information?
Can you tell when it was last updated?
Is it biased?
Is the site factual or is it just one person’s opinion?
Is it trying to persuade you about something or advertise?
Does it give you information to help you in your research or just give you one point of view?
How can you check the information?
Can you check who the author is?
Can you follow links to other resources which say the same thing?
Just because it looks good,
it doesn’t mean it’s right!
Storyborads
A storyboard is a graphical representation of the camera shots in a film sequence which are connected together to create a narrative flow
It is similar in appearance to a comic-strip. The story of the film is visualised by a series of drawings which depict the location, characters, props and setting of each shot. Beneath the images there are captions detailing action, camera directions, lighting directions and sometimes basic dialogue. A storyboard serves the same function in film/ animation making as an outline does in written projects. It enables the director to visualise the flow of camera shots and sets that they want to eventually appear on screen.
Drawing a rough storyboard is the first step a director will take in visualising a script or a screenplay. When the words of the script are broken down into units of action and drawn as a storyboard, it is easier to see whether the directors ideas are going to work on screen The process of storyboarding therefore helps the director to decide the sequence of shots, the movement of charters and directions. Most importantly the storyboard illustrates how the narrative will flow from one shot to the next as the audience watches. What does a storyboard look like?
The storyboard illustrates how individual camera shots can be used to create ‘narrative flow’. Each show is drawn as a ‘frame’ a rectangle that represents a single shot. Each frame is annotated with brief information about settings, actions, camera angles, shot types, camera movements and editing notes.
Frames are usually connected together with words or symbols that help to create the ‘flow’ of the images. Storyboards and Pre-Production At this stage of film making the director and the production designer will discuss how to achieve the right look and feel of the film by planning the sets and costumes.
A storyboard artist will then be brought in to draw up the directors rough storyboards adding any necessary details and creating a detailed version with action, camera and lighting directions.
A director will discuss these detailed storyboards with director of photography (DOP) whose job it is to achieve the ‘look’ of the film on screen. Together they will talk through each specific shot and discuss composition of the scene, camera placements, camera movements, lighting and the equipment needed for each shot. The storyboard is an important piece of communication between the members of the film crew as it provides a common outline which everyone can work from.
For complicated action you may need a couple of frames to show how a shot develops. Sketch in pencil so you can make changes easily. Scribble down short notes about what's happening in shot (e.g.. BOB enters) what characters are saying ("Is this it? Is this how...") or sound effects (e.g Roll of THUNDER). An overhead view of the location of the camera, actors and light can be helpful if you know the location you are going to be working on. Number your shots so that they can be quickly referred to on the shot list and during editing and ainmation.
When animating or filming begins copies of the storyboard are given to the crew so that everyone knows what is required for each shot in the way of placement of lights, camera movements, movements of actors etc. Once on set, a director might decide to change their ideas from those drawn on the storyboard.
That is appropriate if the storyboard is only being used as a guideline for shooting. In special effects sequences, scenic backdrops are added later by computer and matte paintings it is vitally important that actors (or Charters). know exactly where they should be in shot and what they have to react to. By following the storyboard with the director the actors are more likely to give a convincing performance.
Once the production has reached this stage, the storyboards should act as a visual reminder of what has been produced and in what order. Storyboards are used by editors, especially those who are working on special effects films, where each effect has to be perfectly timed to match the action around it. Non-linear, digital film editing means that films can be swiftly edited on a computer desktop.
The storyboard remains a blueprint of the original intentions and provides a framework against which changes can be judged. You do not have to be a brilliant drawer because it is your ideas, your story and the ‘narrative flow’ that are the most important aspects to communicate. Your storyboards should always be designed to communicate the narrative flow of the story as clearly as possible to your production crew.
Drawings should be clean and simple, arrows should be bold and helpful, and annotations should be brief. Rough sketches can be drawn on storyboard ‘sheets, on large pieces of paper or in sketch books.
But I Can’t Draw! You don’t have to be able to draw well to produce a successful storyboard. Even the crudest scribbles can help convey your ideas. Storyboards are a valuable aid whether you are shooting/Animating Continuously from start to finish. In sections or scenes (one complete sequence at a time) Or as a series of separate shots or segments of a scene.
It is similar in appearance to a comic-strip. The story of the film is visualised by a series of drawings which depict the location, characters, props and setting of each shot. Beneath the images there are captions detailing action, camera directions, lighting directions and sometimes basic dialogue. A storyboard serves the same function in film/ animation making as an outline does in written projects. It enables the director to visualise the flow of camera shots and sets that they want to eventually appear on screen.
Drawing a rough storyboard is the first step a director will take in visualising a script or a screenplay. When the words of the script are broken down into units of action and drawn as a storyboard, it is easier to see whether the directors ideas are going to work on screen The process of storyboarding therefore helps the director to decide the sequence of shots, the movement of charters and directions. Most importantly the storyboard illustrates how the narrative will flow from one shot to the next as the audience watches. What does a storyboard look like?
The storyboard illustrates how individual camera shots can be used to create ‘narrative flow’. Each show is drawn as a ‘frame’ a rectangle that represents a single shot. Each frame is annotated with brief information about settings, actions, camera angles, shot types, camera movements and editing notes.
Frames are usually connected together with words or symbols that help to create the ‘flow’ of the images. Storyboards and Pre-Production At this stage of film making the director and the production designer will discuss how to achieve the right look and feel of the film by planning the sets and costumes.
A storyboard artist will then be brought in to draw up the directors rough storyboards adding any necessary details and creating a detailed version with action, camera and lighting directions.
A director will discuss these detailed storyboards with director of photography (DOP) whose job it is to achieve the ‘look’ of the film on screen. Together they will talk through each specific shot and discuss composition of the scene, camera placements, camera movements, lighting and the equipment needed for each shot. The storyboard is an important piece of communication between the members of the film crew as it provides a common outline which everyone can work from.
For complicated action you may need a couple of frames to show how a shot develops. Sketch in pencil so you can make changes easily. Scribble down short notes about what's happening in shot (e.g.. BOB enters) what characters are saying ("Is this it? Is this how...") or sound effects (e.g Roll of THUNDER). An overhead view of the location of the camera, actors and light can be helpful if you know the location you are going to be working on. Number your shots so that they can be quickly referred to on the shot list and during editing and ainmation.
When animating or filming begins copies of the storyboard are given to the crew so that everyone knows what is required for each shot in the way of placement of lights, camera movements, movements of actors etc. Once on set, a director might decide to change their ideas from those drawn on the storyboard.
That is appropriate if the storyboard is only being used as a guideline for shooting. In special effects sequences, scenic backdrops are added later by computer and matte paintings it is vitally important that actors (or Charters). know exactly where they should be in shot and what they have to react to. By following the storyboard with the director the actors are more likely to give a convincing performance.
Once the production has reached this stage, the storyboards should act as a visual reminder of what has been produced and in what order. Storyboards are used by editors, especially those who are working on special effects films, where each effect has to be perfectly timed to match the action around it. Non-linear, digital film editing means that films can be swiftly edited on a computer desktop.
The storyboard remains a blueprint of the original intentions and provides a framework against which changes can be judged. You do not have to be a brilliant drawer because it is your ideas, your story and the ‘narrative flow’ that are the most important aspects to communicate. Your storyboards should always be designed to communicate the narrative flow of the story as clearly as possible to your production crew.
Drawings should be clean and simple, arrows should be bold and helpful, and annotations should be brief. Rough sketches can be drawn on storyboard ‘sheets, on large pieces of paper or in sketch books.
But I Can’t Draw! You don’t have to be able to draw well to produce a successful storyboard. Even the crudest scribbles can help convey your ideas. Storyboards are a valuable aid whether you are shooting/Animating Continuously from start to finish. In sections or scenes (one complete sequence at a time) Or as a series of separate shots or segments of a scene.
Thursday, 2 October 2008
Keyframes
A “Key Frame” (or keyframe) in animation and filmmaking is a drawing which defines the starting and ending points of any smooth transition. frames are filled with “inbetweens”.
A sequence of keyframes defines which movement the spectator will see, where as the position of the keyframes on the animation defines the timing of the movement. Because only two or three keyframes over the span of a second does not create the illusion of movement, the remaining frames are filled with inbetweens.
In the workflow of traditional hand-drawn animation, the senior or key artist would draw the keyframes, then, after testing and approval of the rough animation, hand over the scene to his assistant. The assistant does the clean-up and the necessary 'inbetweens', or, in really big studios, only some breakdowns which define the movement in more detail, then hand down the scene to his assistant, the 'inbetweener' who does the rest.
In computer animation this workflow is basically the same. The animator creates the important frames of a sequence, then the software fills in the gap. For example, in Adobe Flash, the animator can specify, in keyframes, the starting and ending position of an object, such as a circle. Flash smoothly translates the object from the starting point to the ending point. This is called tweening. The animator can correct the result at any point in time, shifting keyframes back and forth to improve the timing and dynamics of a movement, or change an 'inbetween' into an additional keyframe to further refine the movement.
A very simple animation created by keyframing. The animation lacks smoothness because each frame is completely independent of any other frame.
There is also an animation technique known as keyframing. Contrary to tweening, every frame of a keyframed computer animation is directly modified or manipulated by the creator, such that no tweening has actually occurred. This method is similar to the drawing of traditional animation, and is chosen by artists who wish to have complete control over the animation.
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